One’s voice is the means by which we express our ideas, imagination and thoughts. A person’s voice can be expressed through many different formats including art, song, poetry and literate. While one may express themselves, there are a whole range of reasons why voices may not be heard; which are not limited to absence of sound alone. Some of these reasons are:

• The means to distribute your message is lacking – a form of censorship by those in power by denying you access to the structures of dissemination – for example State control of printing presses
• You are physically stopped from speaking – such as Aung San Suu Kyi during the Depayin Massacre and villager’s in conflict zones who are killed or relocated
• You speak but people misrepresent your voice due to their own personal agendas and interpretations
• You are silenced by your own self-censorship, usually embedded in fear or lack of confidence

There are numerous purposes of expression, for the individual that does the expressing and for the greater community that comes in contact with it. Many people may say their expression has the intended purpose of telling a particular story.

“This is the first time I have ever written a poem. I practice to write this poem because I want people to know about the situation in my village. It is very deep inside Karen state and not many people can go there. So I want people to know about my village, what people do there and what their livelihood is.”

Others use their expression to encourage people to take action.

“I started to think of my voice as a tool to bring a message, to encourage and educate people. Through my voice I could show people the right direction.”

But for many people it is an intensely personal experience, a way of making sense out of a particular action or event, usually invoking strong emotions or relating to violence that has left a marked impression upon them. In November 2004 a group of escaped porters preceded a poem they had created by saying,

“Now I will express my feeling about the problems we have faced when we were porters and the SPDC abused us. It is a poem based on the truth, written by me.”

The poem goes on to say, “We have to climb mountains and are beaten like cattle / Together we will struggle from now on!” The poem not only recounts the physical burden of their experience but also the solidarity that emerges amongst porters who have faced similar treatment.

Imagining Communities

“Nothing is definite, no boundaries, everyone just being together. Like our dreams, that is what I want to draw, what we can imagine our lives to be. I can create the dream and share it to others.”

Earlier this year a woman narrated her story, creating this dream for her community. In her story she spoke of the past, both her parents and her grandparents, and of the civil war and its effects on her family. She talked of living as a refugee in a foreign country, the concerns and problems she faced individually, as well as a mother and provider for five children. She gave some insight into how she imagined her future could be, given the context within which she had just described her life.

“Looking back I would say my life is like this. I would go and stand in the shade of a tree near my home that I left in Burma. This tree, the insects had eaten the inside of it out and worms gorged themselves on the leaves. If I stay under this tree then the shit of the worms would drop on me and eventually the branches will fall off and hit me. So I have to leave the shade of this tree. If I go back I want to stand in the shade of a tree that provides coolness and it should be a tree that we plant ourselves.”

Her image of her future is creative, descriptive, powerful, aware and yet incredibly simple.

Its greatest potential lies in its ability to show possiblity

Of course imagining our future can also create problems. Consequently, it is essential that we consider how to approach these issues from the very beginning otherwise we may possibly be confronted with conflict and disappointment. It is possible that our imaginings differ from those of others, potentially causing conflict. Others may label one’s ideas as ‘unrealistic’, impacting on people’s willingness to share and to even indulge in imaginings. There are issues that people’s imaginings will disappoint others and possibly even hinder the process of change. All these things may be cause for concern, but they highlight the essence of imagination: possibility. Its greatest potential lies in its ability to show possibility.

Much of what is imagined through cultural expression portrays an end product, but not necessarily a means of how to achieve it. The process by which to fulfil these dreams or imaginings is not often considered in acts of cultural expression. But this apparent inadequacy of imagination and expression should not be used to exclude it from its importance in mobilizing people for dream eventuation. The ability to imagine your future, to dream your reality is as important as the process by which you will achieve it.

Neither can be successful in achieving the dream on its own but rather exists in a mutually beneficial relationship. A poem that describes your dream for the future does not create that reality, but it is an initial step towards realising it. Empowering communities

Cultural expression is a powerful tool for creating visions of the future. But forms of cultural expression can also be a powerful tool for empowerment, for both the creator and the audience. It is important that this is recognised. A Karen community theatre performer described the participation of villagers in their performances as a process of empowerment.

“Theatre is a friendly way to bring people together and the conflict evaporates. When people participate in the performance their confidence grows. Sometimes they are too shy to speak but when they participate they are not afraid of anything.”

All types of expression can be empowering. A Karen songwriter said the intention of one of her songs was to be something positive that would show people how to be proud of themselves, see their worth and the values they should aspire to. This song became an anthem at her school and in the years that followed was adopted by other schools.

Also it is important to remember that a piece of cultural expression may not fulfil its true capabilities immediately. It may in fact create something empowering years after its original inception.

“What do we want from each other/after we have told our stories?”1

The Story of the IDPs Security and shelter are vanishing Health, food and education I lack I cannot think of tomorrow Cause I don’t know if I can survive today The military destroyed my lands and home I wonder who ever knows our suffering I miss the place where I was born When my mom rocked my in the cradle Peace, love and unity were there Natural resources were abundant And a picture of “ HOME” was in my very eyes Now, the world’s greed destroyed the unity and peace Oh! I miss the place where I was born I long for the song my mom sang for me and her love drag me to recall a place I used to live. The children are naked because of poverty The mothers are sobbing, the fathers disheartened and all because of war And I want to go home where the light cover my way I cannot think of tomorrow cause I don’t even know how to survive today My farm and place has been destroyed by the military regime. I wonder who ever knows my suffering. Dark clouds are growing darker and the military are approaching our place We are moving from place to place and suffering daily Ah! I want to live freely but the world is full of tribulation Oh! Where have all the education gone? I want to learn but no school for me When the night fall I want to take a rest like the birds do at night But I have to worry about tomorrow That worry makes me scream while I am sleeping This is a song by Saw Kwehsay Kapotati based on his experiences as an internally displaced person in Burma.

One of the most direct and obvious consequences of public expression is the increase of confidence. Many people begin their expression in fear and uncertainty. Perhaps they are propelled into action by frustration or despair, by the need to tell what has until now been untellable. When expression enters a public sphere it is open to criticism, support, ridicule and debate. But once it has received attention and been acknowledged our feelings of confidence grow. Our art and words are attributed with value and we realize that our thoughts and opinions are as important as the next persons.

The power to reveal what had previously seemed impossible to express can not be undervalued. Many creators and participators in cultural expression emphasise the growth in confidence they gain from expression, from telling their story. An art teacher explained this,

“Children are interested, they are happy to draw so it makes me want to share myself with them more. In the camps they don’t have much experience with art but because I came from inside I have knowledge of Burmese art and other art and when I share with them about this art they become more confident in their feelings and their art gets stronger and stronger.”

A songwriter also commented on the increase in confidence by saying,

“The more pride you have in your work, the more confidence you can gain…it’s important for confidence and worth to ensure that those skills can produce something that can benefit the greater community.”

This confidence happens at two levels: at an individual level, in the creation of cultural expression, and also having the courage to distribute the message.

Confidence, value and creativity are certainly outcomes of cultural expression; perhaps they even feed cultural expression. However, some people want more tangible outcomes from their cultural expression. Many people also express the need for action, to create, to change, to transform, to give something or to take something, but with very real and practical steps in mind. Cultural expression is not a static entity, but rather organic, vibrant and full of possibility. It can be inspirational, a comfort and a strength. Moreover cultural expression can mobilise people and it can lead to action.

Many people who use their voice to tell a story do so as encouragement for action. One Karen activist explained the relationship between telling a story and encouraging action as such: The voice, the story and the release of suffering are the first step, this can then lead on to cultural preservation, education, literature and other steps which constitute cultural resistance. First the story comes, the narrative and then the cultural resistance. It is a process and both elements are integral to that process. There is no doubt that many people voice their story as a means of release or to make sense of a specific event. However many people also voice their story as a call for action and a guideline for what action is needed.

Lastly there is a common reference to justice in many songs, poems, narratives, art and other forms of expression. Oppression, coupled with the inherent indignities that characterise oppression, is a destructive debilitating condition to be under. Struggling to fight this and retain or reclaim dignity can be at the core of cultural expression. You have established your dignity through the sound of your voice, no matter what has happened before.

Of course justice is also fed by feelings of righting a wrong. Many pieces of cultural expression deal with human rights abuses, acts of extreme indignities, and unforgivable attacks upon your community and loved ones. For justice to take its course responsibility for these acts will have to be allocated. This is an emotive issue but is central to reconciling acts of the past in the hope of building a better future. Ways of viewing and addressing these issues of justice can be found in the voices of expression.

The most important action we as outsiders can give cultural expressers and resistors is our ability to listen – to really listen. True listening is not easy. One should be aware of their own ideas, interpretations, cultural socialisation and personal agendas when listening to others. It is also essential during listening to acknowledge what is not being said, as it is often just as important as what is actually expressed. Moreover, one must listen and understand the context and the communication parameters in which the expression is presented.

“Perhaps, because they find it difficult to articulate clearly their pain and their hopes to those whose experiences are so different, they seek more poetic forms of expression – forms which require careful and creative listening and feeling to interpret.”2

The voices of cultural expression have a lot to say. People have struggled to express their stories and messages and they have earned the lines what is needed to achieve justice. For those who have been oppressed their voice and its expression are the most powerful tools they posses. We need to take more notice of it’s worth.

This article is based upon research currently being undertaken by the author. If you would like to discuss more about these issues please contact the author at enelke@myrealbox.com

* All quotes, unless referenced otherwise, are taken from interviews carried out by the author in October/November 2005 in Mae Sot. Endnotes:

1 Audre Lourde, taken from http://www.english.uiuc.edu/maps/poets/m_r/rich/onlineints.htm, 2 September 2005

2 Max Ediger from “Dialogue with a dream: reflections of poets, artists and dreamers

Behind the Art Drawing and Text By Saw Tawny Htoo Different artists will have a different stand points about art. Some will talk about reality and others about imagination. For me I want to discuss about art which is related to politics and the feeling of being oppressed. I was born in the Burma jungle called Kawthulei, Karen State, in a free fire zone. Since I turned out to be human; I know that I have no human rights at all. I only know that I have to be ready to flee my village and that I have to live in a camp in a small bamboo house guarded by an iron fence and that is not my homeland. This encourages me to fight for my rights and an end to the suffering. It reminds me when I first saw Burmese troops come into my village and forcibly captured villagers to be porters. The villagers had to carry heavy loads and ammunition for the military. I still remember the first time I saw the Burmese soldiers, as this was the day I had to leave my village. For more than 10 years I have stayed on Thai soil as a refugee. I have never seen my home since that time and I do not know when I am going to see it again. Through art I want to express my feelings about the suffering of grassroots people from Burma. So that people can remember when they see my drawings and it can be the history record for the next generation. That means, when freedom comes to Burma we can remember our past history by seeing my drawing. We can only bring peace by choosing to live together as a big society by “FORGIVENESS”. But our past sufferings will still be in our hearts, like a saying said “Easy to forgive but difficult to forget”.